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THE LIBRARY OF 

CONGRESS, 

Two Copies Received 

FEB 12 1903 

Copyright Entry 

duAr.l'J-^^O'S 

CLASS ft.' XXc. No. 

ST 7- X 1 0 

COPY B. 



Copyright, 1902, by 

CARLE J. BLENNER 




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Introduction 


OREMOST among the names of American artists stands that 



of Mr. Carle J. Blenner, whose portraits and types of beau- 


1 tiful women have made him famous. So well known are 
the “Blenner heads” that the greatest compliment that can be 
paid to a woman is to say she is lovely enough to be painted 
by Blenner. 

Mr. Blenner was born in Richmond, Virginia, his mother 
being a Southerner of French descent, and his father a German. 
He was educated at schools abroad and at Yale University, but 
he was obliged to leave college, after spending three years there, 
owing to ill health. During one of his vacations when he was in 
Europe studying music, some one suggested to him that his real 
talent was drawing and painting; so, making an exception to the 
general rule, he followed the advice. His first big success came 
in 1889, when he exhibited a painting at the Paris Salon. It was 
called “Contentment,” and represents an old woman sitting by a 
window, on the ledge of which is a pot of scarlet geraniums ; the 
repose of the figure and the restful expression of the face carry 
out the title which the artist was so happy in selecting. 

Mr. Blenner studied at the Yale Art School, and also in Paris 
under the best masters, including Bouguereau and Fleury, at 
Julian’s atelier. A marked feature of the young artist’s work is 
his exquisite coloring, especially his flesh tints; another feature 
which is almost as sure to be seen as his signature is the “inevit¬ 
able flower.” Being an admirer of beauty in every form, Mr. 
Blenner appreciates the dainty touch which is given by a flower 


in the hair, or in the draperies around the shoulders of his models. 
As he excels in painting the curves of the throat and neck, his 
best effect is obtained with some soft gauze or chiffon arranged 
to bring out the graceful poise of the head. 

While most of his models are blondes, Mr. Blenner occa¬ 
sionally paints a brunette, whose dark hair and brilliant coloring 
make a striking contrast to the golden or Titian red hair and 
fair skin of his other subjects. Another characteristic of his 
work is that he never begins to paint until he has made a careful 
study of the best expression of the face, and in this way he 
brings out the character, as well as the beauty of feature and 
coloring. He has never yet painted a pretty but expressionless 
“baby face.” 

Among the persons whose portraits have been painted by 
Mr. Blenner are His Royal Highness the Duke of Cambridge, 
Lady Hamilton, and Madame Nordica. 

His work is thoroughly original, although it shows careful 
study and training. It is doubtless due to this that his paintings 
possess a certain finish and style that are not to be found among 
the artists of the “Impressionist School.” Mr. Blenner paints 
his lights and shadows as they are, and not as they appear 
through “blue glasses.” 

He has exhibited for several years at the Paris Salons and 
has received honorable mention. In 1891 he exhibited in Boston, 
where a medal was awarded to him, and several years ago he 
won the Hallgarten prize at the Academy of Design. His work 
was also shown at the World’s Fair and the Pan-American Ex¬ 
hibition, where he received honorable mention. Mr. Blenner’s 
private exhibitions in New York and London are largely attended, 
and, although he is one of the younger artists, his skill has 
created much attraction for the older men of his profession. 


Though noted for his types of feminine beauty, he has also 
been very successful with his portraits of men; whereas it was 
due to his landscapes and marine sketches that his talent as an 
artist was first recognized. 

Mr. Blenner’s studio is in New York, and it is there, sur¬ 
rounded by rare bric-a-brac and antique furniture, that he mixes 
his colors and paints the portraits which he has made famous 
as the “Blenner types.” 

The work of an illustrator is constantly brought before the 
public, but as yet few painters have had their pictures repro¬ 
duced for publication in book form, owing, doubtless, to the 
fact that their paintings seldom possess that minuteness of detail 
and softness of finish that are necessary for the purpose. Mr. 
Blenner’s work has been found an exception; and while his won¬ 
derful flesh tints can not be given, nor an idea of his “light 
reflections ” be conveyed, yet his art is so beautiful when repro¬ 
duced in the soft shades of an engraving that the present volume 
has been issued in order to supply a demand created by the 
widespread popularity of the artist’s talents. 


C. Boardman Rogers. 





Contents 


Day Dreams 
A Flemish Maid 
Dolce Far Niente 
The Fan 
Lettice 
Spring 

In a Tender Mood 
The Love Letter 
Nasturtiums 


Midsummer 

Antoinette 

Ivy 

The Gold Fish 
Poppies 
The Miniature 
II Penseroso 
Autumn 

Sealing the Letter 






















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